David Lynch: You gotta be selfish. It’s a terrible thing

The Twin Peaks director lives for his work. He talks about his four marriages, why explaining his films is a crime, and what makes him a happy camper

David Lynch seldom smiles in photographs. His etched Easter Island statue of a face doesnt glower so much as brood; lips pursed and eyes hooded, he looks every inch the auteur in winter. The quiff completes the effect, its lush swirl seemingly frozen in place by alarming, Lynchian thoughts.

In his 40 years of film-making, the director has taken audiences from sunlit American idylls to surreal dimensions populated by demons, doppelgangers and psychotic killers. His are scenes you cant forget: the whimpering, deformed baby in Eraserhead, the severed ear in Blue Velvet, the blood-spattered, skull-crushing violence of Wild At Heart, the nuclear explosion in Twin Peaks: The Return. Google David Lynch creepy, and you get 5.5m results.

Lynch works from a studio on a slope above one of three adjacent homes he owns in the Hollywood Hills, just a stones throw from Mulholland Drive. He is reclusive and seldom leaves this little realm, let alone grants audiences to journalists but he is prepared to now, on the eve of publishing an unconventional memoir-cum-biography, Room To Dream. An assistant escorts me through the house (sleek concrete walls and surfaces, floor-to-ceiling shelves of VHS cassettes and CDs) and up through the garden to the studio. A snake slithered across the path earlier this morning, the assistant says.

Lynch sits in a corner, hunched over a lithograph. The tabletop brims with paint pots, lotions, chemicals, gel formula cement, lithographic paper, pneumatic drills, cables, wires and paintbrushes. There is a mug of coffee, a pack of cigarettes. The director wears cracked, ancient boots, ragged chinos and the remnants of a black buttoned-up shirt that looks to have been shredded by a badger.

Its a scene that might be intimidating were it not for a great, largely untold secret: David Lynch is a cheery, congenial soul who rivals the Simpsons character Ned Flanders for howdy-doody niceness. Hey, bud! he greets the assistant, offering me a handshake and wide smile. He laughs, often, and yearns for peace on Earth. I love my life and Im a happy camper, he says. It would be nice if we were all able to fulfil our desires and live good, long, happy lives.

The studio is a bunker-like structure of concrete and glass that overlooks a panorama of trees, bougainvillea and villa rooftops. You can feel the morning sun and hear birdsong. I like it up here, the trees, Lynch says, speaking with the halting lilt of Gordon Cole, the FBI agent he plays in Twin Peaks (only without the deafness). Its a feeling I get in LA, a feeling of freedom. The light, and the way the buildings are not so tall. You can do what you want. Would he like a coffee, his assistant asks? Yeah, Im about ready for a hot one, thank you. There is no toilet up here, so to save trekking down to the house the boss pees into a sink built into the wall. See that thing with the handle? It pulls out, Lynch explains. You can pee right in there. Then you run the faucet.

A large canvas standing in the middle of the studio, an unfinished work, depicts a tree with children. Closer scrutiny reveals that the boy standing at the base is holding a knife. A girl on the branch above is cowering. Another girl is dangling from a noose. Neither look like candidates for good, long, happy lives.

You can find suffering and death anywhere if you look, Lynch says. The other day, a spiders web next to his desk snagged a bee. The bee broke free, only to get snagged again. The spider came out, started wrapping him, and pretty soon the spider had him wrapped completely. And I think bit him, too. Then he undoes the packaging and drugs him and drags him. Lynch smiles at the memory. Man, that is a violent thing. LA is glorious, he says, but you see things.

What Lynch sees, and then puts on screen for us to see, is one of the great enigmas of cinema, one that has launched a thousand film studies PhDs. When the director looks at a manicured lawn, his minds eye tunnels beneath it to hidden mystery, mysticism and depravity visions he has turned into mind-bending television and film. Its an oeuvre people tend to love or detest, and even devotees dont claim to fully understand. With the exception of The Elephant Man (1980) and The Straight Story (1999), his films are oblique and non-linear. Who is the chipmunk-cheeked Lady in the Radiator who crushes sperm-like worms while singing to the father of the mutant baby in Eraserhead? How much of Mulholland Drive is real, or dreamed by Naomi Watts aspiring actor? And is the ending really the beginning?

Lynch is the last man to provide any answers but now, at the age of 72, he has opened up sort of in his 577-page doorstopper of a book. Room To Dream declares itself at the outset to be a chronicle of events, not an explanation of their meaning. Chapters alternate between Lynchs own recollections and those of his friends, relatives and collaborators, as told to his co-author Kristine McKenna. There is his boyhood in 1950s middle America, his early painting career, his four marriages to Peggy Lentz, to Mary Fisk, to his longtime editor and producer Mary Sweeney, to the actor Emily Stofle as well as his relationships with other women. What emerges is not so much Lynch, but two very distinct Lynches: the single-minded and reclusive visionary who is also a savvy media player; the hermit who very consciously nurtures his brand.

He is at his most animated when discussing ideas. Theyre like fish. If you get an idea thats thrilling to you, put your attention on it and these other fish will swim into it. Its like a bait. Theyll hook on to it and youll get more ideas. And you just pull them in.

When he puts a story on screen, he does not think in term of beats or plot points. No, its a feeling, more of an intuition. Its the idea that youve fallen in love with, and you try to stay true to that. You see the way that cinema can say that idea, and its thrilling to you.

Lynch made a gnomic speech about trees, then the curtains parted and the first two hours rolled, reuniting Agent Cooper, the Log Lady, Laura Palmer and other characters last seen in 1991. Kyle MacLachlans Dale Cooper was still trapped in an extra-dimensional Black Lodge, amid an even stranger universe; a school principal was arrested on suspicion of beheading a librarian; a young couple were violently killed by a ghostly entity which sprang from a glass box. There was also a talking tree.

When it ended there was a hush, followed by thunderous applause. The most popular adjective at the after-party was mind-blowing. Nobody understood the plot or seemed to like the characters, but it didnt matter: Lynch was a genius.

When I ask Lynch if this kind of thing stings, he says he tends not to read reviews. The good ones arent good enough, and the bad ones will depress you.

Nor does he see much other TV or cinema. When I ask what he likes to watch, Lynch says crime shows and car shows, but declines to elaborate. His favourite film of the past year? He goes silent and scrunches his face, thinking, thinking, thinking. The silence stretches. He puffs on the cigarette. Later I check the tape. Not a word for 46 seconds.

Um, he finally says. I saw my son Austins movie [Gray House, a documentary] last year and I really liked it. I dont think Ive seen any other films.

He must have seen some. The Shape Of Water?

No.

Dunkirk?

No.

Black Panther?

No.

Does he have any curiosity about them?

Not really. I never was a movie buff. I like to make movies. I like to work. I dont really like to go out.

But these days you can watch them at home.

Uh-huh.

In Room To Dream, Lynch says he used to be angry and thought this gave his work an edge. Then he took up transcendental meditation (TM), lost the anger and gained better focus. He has evangelised about TM ever since, dedicating his book to the late Indian guru Maharishi Mahesh Yogi and the world family. Sceptics take note: this highly caffeinated, pack-a-day smoker is possibly the least jittery person in Hollywood.

He also believes in reincarnation, which keeps him Zen about growing old and losing friends and colleagues, including Twin Peaks: The Return collaborators Harry Dean Stanton, Miguel Ferrer and Catherine Coulson (the Log Lady), all of whom have died since filming. Life is a short trip but always continuing, he says, tapping ash. Well all meet again. In enlightenment you realise what you truly are and go into immortality. You dont ever have to die after that.

Politically, meanwhile, Lynch is all over the map. He voted for Bernie Sanders in the 2016 Democratic primary and thinks hes not sure he voted Libertarian in the presidential election. I am not really a political person, but I really like the freedom to do what you want to do, says the persecuted Californian smoker.

He is undecided about Donald Trump. He could go down as one of the greatest presidents in history because he has disrupted the thing so much. No one is able to counter this guy in an intelligent way. While Trump may not be doing a good job himself, Lynch thinks, he is opening up a space where other outsiders might. Our so-called leaders cant take the country forward, cant get anything done. Like children, they are. Trump has shown all this.

Eraserhead landed Lynch a job directing The Elephant Man. His attempt to personally mould and apply John Hurts makeup failed, forcing him to hire a specialist and triggering an extraordinary bout of self-reproach. I thought it would be better to kill myself because I could hardly stand to be in my body, he writes. He recovered only to clash with Hurts co-star, Anthony Hopkins, who deemed the young American out of his depth and tried to get him fired. Mel Brooks, who produced the film, recalls an angry phone call from Hopkins but not an explicit demand to fire Lynch. In any case, he defended his director and shepherded The Elephant Man to eight Oscar nominations in 1980. Brooks remains a fan, telling Lynchs co-author: Hes all screwed up, too, of course, and he projects his own emotional and sexual turmoil into his work and assaults us with the feelings hes being assaulted by.

One of the great puzzles about Lynch is his relationship with women. He writes strong female leads, and has worked for years with many of the same actors (Naomi Watts, Laura Dern, Sheryl Lee) yet the frequent onscreen violence has led to accusations of misogyny. Offscreen, he can be brutal when it comes to the end of a relationship. In Room To Dream, Isabella Rossellini that Lynch laughed while shooting her rape scene with Dennis Hopper in Blue Velvet, and I still dont know why. Rossellini went on to have an affair with the director, a relationship that ended his marriage to Mary Fisk. My heart was truly broken, and I was walking around like a lost person with blood dripping from every pore, Fisk tells McKenna. She has since forgiven him.

It was Rossellinis turn four years later, around the time Lynch was directing her in Wild At Heart. David has this incredible sweetness but [he] completely cut me out of his life, she recalls. I didnt see it coming. Devastated, she wondered if it was because she did not meditate, before realising he had fallen in love with his editor Mary Sweeney, who became Lynchs third wife. The marriage lasted a matter of months.

I ask Lynch how he manages to inspire such loyalty, despite such strict rationing of human contact from his collaborators, friends, even his exes. He drops his cigarette on the floor and stubs it out with a boot before answering. I like to have some people around. If I was totally alone I think Id get funny, and not in a humorous way.

As a father and husband he has often been absent, he concedes. You gotta be selfish. And its a terrible thing. I never really wanted to get married, never really wanted to have children. One thing leads to another and there it is.

That sounds like regret, until he elaborates. I did what I had to do. There could have been more work done. There are always so many interruptions.

Room To Dream, by David Lynch and Kristine McKenna, is published by Canongate Books at 25. To order a copy for 18.99, go to guardianbookshop.com or call 0330 333 6846.

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